And were back to the slowest thread ever, like I said I can be inconsistent thanks to my unreliable brain.
Here's some more for you.
Here are two films that fall into the 'personally didn't like it, but they are still worth seeing for discussion or ambition.'
THE TRIBE
A film I admire for it's originality and ambitions for sure. There is no dialogue-- all communication is expressed through sign language, punctuated violence, and sex-- there are also no subtitles (intentionally). It's a very novel concept and a daring attempt of a cinematic experience that's not quite like anything else. In a sense it's a fresh modern take on old silent films. Unfortunately, as well-crafted though it is, The Tribe is somehow an artistic misfire. The pacing is slow, and while I have the patience for slowly paced cinema, I would at least like to have some rewards for my patience along the way. There are very few here, and it's a grim slog to a finale that failed to impact despite the "shocking" acts on screen. Depressing and far too chilly to be able to embrace, the film is still worth checking out, polarizing though it is. Just get ready to feel like as cold as the characters portrayed.
Gaspar Noe's LOVE
Oh Gaspar, you jerk. One of the single most self-indulgent film makers working today, and I mean to a shameless degree. I'm actually quite a fan of his past works; Enter The Void is an absolutely essential cinematic experience and possibly a masterpiece. Irreversible, despite its explicit depictions of violence and that awful extended rape sequence, still remains a challenging, uncompromising, and certainly unforgettable (even if you may want to, though I found the extreme sequences necessary, as sexual violence is something that unfortunately affects humans every day, myself included. Yet many accuse it of being exploitative trash, which I don't really blame them for thinking that way. But I digress. He's always been an indulgent director, but I've been able to excuse it in the past, LOVE is the first time I just simply couldn't ignore it. Noe has expressed he is not homophobic, then I ask why must he include horrid depictions of homosexuals in everyone of his films? Here there is even a line during one of several of our "protagonist's" internal monologue where he flat out expresses 'I hope he doesn't turn out gay.' Really Gaspar? But beyond that nitpick, LOVE starts out well enough, the unsimulated sex is actually used in necessary, and even emotionally resonant, ways. But the more the film progresses, the further Noe places his head up his own ass. Retreading into territory he's done already, and the sex just becomes dull after a while. Thank the cinematic gods for cinematographer Benoit Debie then, as this is but one of two mediocre films that are made consistently watchable thanks to his incredible mastery of his craft. Unfortunately, Debie's visuals and the expert use of music and sound design are the only things LOVE has going for it. Though I may revisit it someday to give it another chance, for now it's simply a slip up on Noe's part, but I trust he'll make up for it with whatever he does next. Let's just hope he digs a little deeper and starts expanding his horizons a bit.
LOST RIVER
Many actors have been able to pull off the tradition of transitioning from their main profession to that of a writer/director. Clint Eastwood, Todd Field, Tim Blake Nelson (yes, I'm a fan of 'O'), Thomas Mccarthy, Mel Gibson, George Clooney, even Ben Affleck turned out to be competent behind the camera. But for every one that got it right, it's the ones who don't that stand out the most. In the case of LOST RIVER, it's now Ryan Gosling's turn. LOST RIVER is something of an enigma to me, it's certainly watchable (once again, thank you Benoit Debie) but Gosling has no distinctive qualities of his own as an 'auteur' as hard as he tries. This feels more like a collaboration of greater directors works, mainly Terence Malick, David Lynch, Nicolas Winding Refn, and even Harmony Korine or early David Gordon Green. All great directors in their own right, but this feels almost like flat out plagiarism which is ultimately its undoing. Well, that, and the ridiculously absurd script which throws in everything including the kitchen sink... that's spray painted in fluorescent neon colors because 'art'. Yet in spite of itself it's oddly fascinating, occasionally it works, especially every sequence involving Saoirse Ronan. But this is a case of all style and very little actual substance. If Gosling is ever to make another film, let's hope he finds his own personal vision, instead of emulating the artists who inspired him. Still, that cinematography though.
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